BWW Reviews: A Definitive 'Morning Glow' Lingers After a Glorious PIPPIN at The McCallum Theatre

The National Tour of PIPPIN is, hands down, the finest touring production to land at The McCallum Theatre during my tenure in the desert cities. Passionate. Polished. Near Perfection! It is a glorious spectacle of sight, sound and immaculate storytelling that, despite its mesmerizing visual feast of circus spectacle, remains honest and intimate and, at every turn, very human.

For those who are in need of the "cliff notes" - Pippin tells the story of a young prince in search of fulfillment who longs for a sense of happiness that seems to elude him at every turn. Neither the glories of battle, the temptations of the flesh or the political power of the throne can satisfy that longing. In the end, Pippin trades the lure of the "extraordinary" for the contentment he finds in the simplicity of a rather "ordinary" life. The score, by Stephen Schwartz, reminds you of what truly artful "craft" in musical theatre can be, where lyric and melody are effortlessly woven to serve character and story, above all. Roger O' Hirson's book is cleverly contemporary and delivers just the right balance of poetry, poignancy and punchline. Diane Paulus, who was honored with the Tony Award for her direction of the revival, has expertly crafted a production that is as sensitive as it is visually stimulating. The choreography, by Chet Walker, which pays delicious homage to Fosse's original, is a central character in this Pippin - not simply dance and production and movement that accompanies the music, but as vital to the storytelling as any of the lines and the lyrics.

But it is not the "spectacle" that makes takes your breath away in this enormously satisfying production. It is the cast. Gabrielle McClinton's "Leading Player" is magnificent and she provides the perfect anchor for the production. McClinton's tremendous vocal abilities are matched, possibly exceeded, by her physical prowess - she handles Walker's choreography with such style and ease, as if it is firmly rooted in her DNA, that it is thrilling to behold. You can't take your eyes off of her. Erik Altemus delivered a "Pippin" that was flawless - the right balance of cocky optimism and vulnerability - his performance was fresh and honest and layered. Altemus was in superb voice; rich and lovely and emotionally satisfying. (Altemus is the understudy for Pippin in this company. He originated the role of Lewis in the 2013 revival, and has recreated that role for this tour. An unexpected blessing for this reviewer and the McCallum audience to see him as Pippin last night.)

John Rubinstein is exceptional as Charlemagne. He is charismatic and his comic timing is superb. The man knows how to deliver a line! Adrienne Barbeau delivers a solid performance as Berthe and her "No Time At All" is the scene stealer it is designed to be. Her Berthe is a bit subtler than I have seen in previous iterations but it served the show well and she was in great form. Sabrina Harper's Fastrada is deliciously conniving and her "Spread A Little Sunshine" is a show highlight. The only performance that left me flat was Bradley Benjamin's "Catherine" - so cloyingly "over the top" that it felt a little "outside of the show". Benjamin seemed a "caricature" and lacked any sense of truth, which left me cold and unsatisfied, emotionally, with the love story that is critical to Pippin's ultimate decision. I am not being critical of the artist - talent is not the issue, just the choices.

Pippin is an ensemble show at it's very core and this company of "players" is rather extraordinary. There isn't a weak link in the formidable chain. Kenneth Posner's lighting design is spectacular and lifts the production at every turn.

Pippin is not only a "must see", but a "must see again". There are limited tickets available for this brief engagement in Palm Desert and I would recommend a "run, don't walk" to the box office. For further information or tickets visit www.mccallumtheatre.org.

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